




Why We Get So Many Orders 

- 

1. The Cleanest and Best Entertainments 

Twenty-five years of selection from our own 
line and other good publishers. 

2. Confidence 

If it isn’t right (it almost always is) our cus¬ 
tomers know we will make it so. 

3. Intelligent Answers to Inquiries 

No slip-shod impersonal attention but care¬ 
ful attempts to please you. 

4. Quicker Service Than You Expect 

All of our customers know this is our strong 
point. Local conditions, both in our own 
offices and the postoffices make delays very 
rare. We carry a large stock, not just sample 
copies. 

_ 

This is an invitation to join our satisfied customers . 
-- 

Eldridge Entertainment House 

INCORPORATED 

Franklin, Ohio Denver, Colorado 

£361 


(Made In U. S. A.) 









HANDBOOK 

of 

Amateur Dramatics 


BY 

GEORGIA LYONS UNVERZAGT 

it 

Former Director of Dramatics, Glendale College, 
Glendale, Ohio 


PRICE 35 CENTS 


Copyright 1923, Eldridge Entertainment House 


PUBLISHED 

ELDRIDGE ENTERTAINMENT HOUSE, 


FRANKLIN, OHIO 


DENVER, COLO 






Advertising _ 32 

Children’s Plays__ 14 

Costumes _ 24 

Do’s and Don’t’s of Play Coaching_19 

How to Choose a Play_ 5 

Lighting_ 23 

The Little Theatre Movement_37 

Make-up-- 29 

Organization _._ 9 

Pageantry _33 

Plays Suitable for Amateur Production_41 

Rehearsals _ 11 

Selecting the Cast -- S 

Scenery and Settings_21 

Special Effects _ 22 

Stage Directions _ 4 

Stage Terms _ 3 

The Speaking Voice in Dramatics_17 

44 (oSlVO 

U', 





















Handbook of Amateur Dramatics 


STAGE TERMS 

Action —Applies to development of plot of play. 

Business —Anything actors do—shake hands, smoke, use 
of handkerchief. 

Cross —To cross stage. 

Down Stage —Toward front of stage. 

Leet —Actor’s left when facing audience. 

Movement —Change of position. 

Oee (Stage)—O ff the visible stage. 

On (Stage)—O n the visible stage. 

Right —Actor’s right when facing audience. 

Up Stage —Away from audience, or toward the rear of 
stage. 

Apron —Part of stage from curtain line to front of stage 
or footlights. 

Back Drop —Single piece of scenery extending the entire 
width of the visible stage and forming its rear boun¬ 
dary. 

Borders —Strips of canvas hanging parallel to one an¬ 
other from above stage, representing ceiling, sky, etc. 

Cyceorama —Is backing for stage—built in form of seg¬ 
ment of vertical cylinder. 

Box— Set —A complete interior setting. 

Discovered —Visible on stage at rise of curtain for any 

act or scene. 

Drops- —Scenery hung at varying distances from the front 
of the stage and lowered as required for backgrounds 
to fill entire width and height of visible stage. 

Ground — Ceoth —Carpet, or floor covering* 

Properties —Articles used by actors. 

3 



4 


Handbook of Amateur Dramatics 


Set —The scenery of any scene or act. 

Set — 1 '■(to be) To have scene ready for the rise of cur¬ 
tain. 

Strike — (to) To clear stage of all scenery and proper¬ 
ties. 

Wings —A single piece of scenery set on either side of 
stage. Often refers to space itself on either side 
of stage. 


STAGE DIRECTIONS 


RUE 

I 

R 8 E 

I 

R 2 E 


R 1 E 
I 


RO 


up-stage 

O 


down-stage 
foot lights 


LO 


L O E 

I 

LCE 

I 

L2E 


L 1 E 
I 


In giving stage directions, the actor is always sup¬ 
posed to be on the stage, facing the audience. The fol¬ 
lowing abbreviations are used: 

R—Means Right of stage—facing audience. 

E—Means Left of stage— facing audience. 

C—Means Center of stage—facing audience. 

R. C—Means Right of center of stage. 

L. C—Means Left of center of stage. 

Up-stage—Means away from footlights. 

Down-stage—Means toward footlights. 

R 1 E—First entrance on right of stage beginning 
at front. 

R 2-E—Second entrance on right of stage beginning 
at front. 

R 3 E— y Third entrance on right of stage beginning 
at front. 

R U E—Upper entrance on right of stage beginning 
at front. 








Handbook of Amateur Dramatics 


5 


L 1 E —First entrance on left of stage beginning at 

front. 

L 2 E—Second entrance on left of stage beginning 
at front. 

L 3 El—Third entrance on left of stage beginning at 

front. 

L U E—Upper entrance on left of stage beginning 

at front. 


If directions called for following arrangement: 
Door R. 

Door L. 

Door Center back. 

Couch—Down right. 

Table—Up right 
Piano—Up left. 

Table—Center. 

Chair and End Table—Down left. 

the scene plot would be as pictured below: 


Door 


Table 



Piano C 

| 




Lamp 



Table 

End 

Table!., 



Couch 



Arm Chair 


G 

o 

o 


HOW TO CHOOSE A PLAY 

“Aim of drama is to get possession of one’s imagina¬ 
tive faculties .”—Granville Barker. 

There are many things to be considered in selecting 
a play, but one thing you must remember is to select a 
play worth while. Too much time is spent on trashy 
comedies, that are worth nothing to the audience or to 
the actors. How many times have we gone to the ama 
teur production, and upon leaving the auditorium find we 



















6 


Handbook of Amateur Dramatics 


have absolutely nothing to take home with us. 

The place of production must be considered, the size 
of the stage, etc. Sometimes it is necessary to suit the 
play to the stage. Recently a dramatic class gave a play 
on their local stage, which was very successful. It was 
arranged a week later to repeat the play at a Community 
House in a neighboring town. The director had never 
seen the stage at the Community House, and conditions 
were such that it was impossible for her to see it until 
the night the play was to be given. She telephoned and 
gave an accurate list of the articles needed for the set¬ 
tings, but alas when she reached the Community House, 
she found the stage was about one-third the size of the 
one used at the first production, with only two entrances, 
while the play called for three. There was only one set 
of scenery, that an interior, while the play called for two 
exterior scenes. The situation seemed hopeless, but by a 
great deal of manipulation, the use of branches, and 
Chinese lanterns, and strings of artificial wisteria, a pass¬ 
able Garden Party scene was produced. The director 
must be able to face all kinds of emergencies, because he 
is sure to be faced by them. 

The nature of the audience must be considered. If 
you are producing for a more educated group, the play 
will be a great deal different than if you are producing 
for others. “To have great plays, we must have great 
audiences.” This does not always mean that in a Com¬ 
munity House, one must always produce simple plays, 
very often the frequenters there, although uneducated in 
some ways, have been educated to an appreciation of 
what is really good in drama. 

Choose a play full of action, one that will interest your 
audience. Action is essential and it must not lag during 
the play. It is necessary to get the interest of the audi¬ 
ence from the time the curtain is lifted until it falls at 
the end of the play. 

Be very careful to avoid choosing a play that will be 
offensive to your audience. Try to give the audience 
something in which they are interested. 

Select a play that gives opportunity for good acting 





Handbook of Amateur Dramatics 


7 


and impersonation and one in which the opportunities 
are divided among the actors. It is a poor policy to let 
one person have all of the honors. If this is done, it will 
cause the other actors not to put as much into their parts; 
they will feel the star will get all the applause, and there 
is no use of them doing their best. 

The aim of the amateur play is not to make great 
actors, or to give people a chance to show off. 

A good play consists of tying a knot and untying it. 
If the knot is not logically untied, it fails to fill its re¬ 
quirement as a good play. 

The play based on curiosity is never a good play. 
It does not bear repeating, and the minute the secret is 
revealed, all interest is lost in the play. 

Try to choose a play in which there is a conflict. 
Everybody loves a fight, from a dog-fight to a conflict 
between empires. The conflict should start early in the 
play and should not be settled until the end. As soon 
as the conflict ends, the curtain should drop. 

Try to choose a play that does not call for elaborate 
stage settings unless you are willing to spend the money 
to stage it properly. 

After the play has been selected, do not try to change 
the plot of it, especially if it is one of the old classics. We 
are always indignant, and rightly so, when alterations are 
made in the great works of fiction in order to adapt them 
to the screen, or for production on the legitimate stage. 
The Japanese feel it their privilege to even change 
Shakespeare’s plays, to suit themselves. Recently, 
Othello was subjected to the most awe-inspiring trans¬ 
formation, for production on a Tokio stage. Othello 
was represeilted as the military Governor of Formosa, 
and Desdemona appeared as* the daughter of the Minis¬ 
ter of Finance, who wished to marry her off to a Jewish 
banker. The unhappy young woman bemoaned , her fate 
from dawn till dark, her sole consolation, according to 
the Japanese version, being the music of her Victrola. 

Choose a play that has a life-like ending. “Hold 
the mirror as it ‘twere up to nature.” The inevitable 
happy ending is a distinctly American stage character- 




8 


Handbook of Amateur Dramatics 


istic. In Europe, especially since the war, plots deal 
very largely with morbid episodes. The drama which 
shows life as it really is, is the highest type. It takes 
life to make drama, and as soon as one life touches an¬ 
other, a drama has started. “Let’s have realism in plays, 
not what one writer called ‘another happy ending play: 
a Pollyanna picture by a molly-coddle author and a hooli¬ 
gan director, afraid of fate, ignorant of realism, deny¬ 
ing life.’ ” 


SELECTING THE CAST 

The Director must be thoroughly familiar with the 
play, and should have some knowledge of the ability of 
the actors. The “Try-out” method is of course the fair¬ 
est and most democratic way of casting, however, if the 
director really knows the ability of the actors, he can cast 
the play without the try-out. He should know exactly 
the type called for, for each particular character and 
should have some knowledge of the ability of the actors. 
Each person should be assigned the part to which he is 
best suited. If favoritism is shown, there is sure to fol¬ 
low a great deal of dissatisfaction, and a successful play 
can never be produced where there is an antagonistic 
feeling existing between the cast and the director. Com¬ 
mon sense should be used in casting. 

If a part calls for a handsome man, at least a fairly 
attractive man should be assigned this part. A great 
many defects can be covered by make-up, bu^t the features 
should furnish a good background on which to work. If 
a woman’s mouth is too large, it can very easily be blotted 
out with flesh color grease pairt, and a perfect cupid’s 
bow can take its place. Make up will help a great deal, 
esnecially in character work. 

It sometimes happens that at the second or third 
rehearsal, the director finds he has made a mistake in 
casting; he should in this case, change the part rather 
than run the risk of ruining the play. 





Handbook of Amateur Dramatics 


9 


It is a joy to the director to work with folks, who are 
willing to take direction, and this kind of a person will 
often develop more than the talented, conceited, know-it- 
'all type. 

It should be born in mind that the first person on 
the stage is one of importance. The actor who opens the 
play should be very carefully chosen. He very often has 
a small part, but it is his duty to get the interest of the 
audience from the start. There are actors in New York, 
who are kept in companies, just because they are good 
“openers.” 

A play should never be cast hurriedly. A great 
deal of thought and attention must be given to casting. 
It sometimes happens that an entire play is a failure, 
because one character has not been well cast. The writer 
recently saw tZe production of a clever comedy, but the 
leading comedian part was taken by a very serious- 
minded dignified lawyer, who just couldn’t be funny no 
matter how hard he tried. The natural result was the 
humor of his lines didn’t go over, and the play was a 
failure. 


ORGANIZATION 

In organizing the forces for producing a play, peo¬ 
ple must be chosen, because of their ability, and their 
willingness to co-operate. Co-operation is the key-word 
of success in an amateur production, one person not at¬ 
tending to his duty may cause the play to be an absolute 
failure. 

The director is of course the most important mem¬ 
ber of the organization, as it is his conception of the 
play that is produced. It is very important that he be 
artistic He must always have co-operation, but never 
interference; his word should be final. If suggestions 
are offered him, they should not be made at rehearsals. 
Often, very good suggestions will come from members 
of the cast, and the director who is broad-minded, will be 




10 


Handbook of Amateur Dramatics 


open to suggestions. The director has full control of the 
cast, and is commander of all rehearsals. He must be a 
person of initiative and executive ability. He should keep 
his temper and hold his tongue, although he is tempted 
to lose both. He can make the rehearsals so very inter¬ 
esting that the entire cast will look forward to them, with 
a great deal of pleasure, or on the other hand he can make 
them so very uninteresting that they will be dreaded by 
all. 

The Property-Master provides all articles needed 
by the actors. A great deal of care should be used in 
securing just the right properties. If someone who has 
a wide circle of friends is chosen as Property-Master, he 
may be able to borrow a great many articles. The prop¬ 
erties must always suit the period of the play. To really 
perform the duties of Property-Master, a man must have 
energy, pep, and nerve. 

The Business Manager—It is the duty of the Busi¬ 
ness Manager to advertise, and make all arrangements, 
such as printing the tickets, programs, renting auditor¬ 
ium. It is his duty to get the advertisements for the 
program. Often a great deal of extra money can be 
made this way. 

The Prompter is an important member of the staff, 
and must be present at every rehearsal, and be thoroughly 
familiar with the play. He must be dependable and have 
a clear voice. It is necessary for the Prompter to keep 
a little ahead of the actors, instead of just following 
them. He should never take his eyes off of the book. 
The mistake should not be made of thinking that any one 
can prompt. An inexperienced prompter can do un¬ 
told damage. 

Light-Man—Has charge of all lighting effects. He 
should work out the lighting effects carefully, and be 
present at the last few rehearsals. If it is possible to 
secure an experienced electrician, he will be able to add 
a great deal to the effectiveness of the production. 

Costume-Mistress—Is an important member of the 
staff. She has charge of all costumes, and is responsible 
for them. 




Handbook of Amateur Dramatics 


11 


Make-up Man—Will have charge of making up the 
actors. If it is impossible to secure a reliable Make-up 
Man, the Director may give two or three lessons in 
make-up, early in the rehearsals, so that at the last 
minute, he will just have to put on the finishing touches. 


REHEARSALS 

The successful Director is the one who will make 
the rehearsal so interesting and worth while that the 
cast will be anxious to be on hand and on time. It is 
very necessary to have people come promptly to rehear¬ 
sals, and the Director should insist upon promptness. One 
tardy person can hold up the entire rehearsal. There is 
nothing more aggravating than to have to wait on one 
character. It puts the whole cast in a bad humor before 
the rehearsal has ever started, and this means no end of 
trouble for the Director. 

The rehearsal period for a play should not extend 
over three weeks. For the first two weeks, rehearsals 
should be held twice a week, and during the last week, 
there should be a rehearsal every night. The Director 
should have it understood that every member of the cast 
is expected to be at every rehearsal. 

Before going to the first, rehearsal the Director 
should have worked the business of the play out care¬ 
fully at home. He should draw sketches in the prompt 
book, showing every movement. After the play has been 
cast, ’ the first rehearsal is the -eading rehearsal, each 
character reading his own part. 

The Director miut be thoroughly familiar with the 
play; he must be able to explain every cross, and each 
movement must have a meaning of its own. The Direc¬ 
tor must have the author’s viewpoint in every bit of busi¬ 
ness and every line. Otn the professional stage, rehearsals 
are sometimes held up for several weeks, in order to get 
in touch with the Playwright, and have him give his in¬ 
terpretation of certain lines. 





12 


Handbook of Amateur Dramatics 


The most difficult thing for amateurs to learn is re¬ 
pose, and what to do with their hands. A great deal of 
this comes by instinct; still it can be taught. It is told 
of the great Rachel, greatest of French tragediennes, that 
she had a very hard time to keep from talking with her 
hands. Her Manager finally decided to tie her hands be¬ 
hind her and gave her some exercises, and worked her 
up into a passion that called for very eloquent gesture. 
Her hands responded to the call of her brain, and she 
broke her bonds, and let her hands speak. This was tried 
over and over until finally the use of her hands became 
a wonderful part of her acting. 

Madame Yvette Guilbert, the great French Singer, is 
a master in the use of her hands. An old French artist 
after having seen one of her performances, wrote her a 
letter telling her he had been hypnotizd by her hands, and 
that he had seen the whole Life of the earth through her 
hands. 

The amateur must remember however that many a 
good play has been spoiled by the over-usage of the 
hands. 

The Director must have respect for the play and 
must put this respect into the minds of the actors. If 
they do not respect it, there is no possible chance of the 
audience enjoying the production. 

The Director must have respect for the play and 
actors, and should discuss the characters with them. It 
is sometimes a good plan for the Director to ask each 
actor to write a character sketch of the part he is to por¬ 
tray This will make them really analyze the character. 

At the first acting rehearsal, only the first act should 
be rehearsed; at the second, the second act should be 
taken. The entire play should not be rehearsed until 
near the end of rehearsals. If there are weak spots in 
the play, these should be worked out separately, so as 
not to retard the rehearsals. Sometimes it is necessary 
to go over and over a few lines; it would not be fair 
to the entire cast to hold up the rehearsals for this, but 
the Director should meet the groups separately, and work 
with them until their weaknesses are overcome. 




Handbook of A mateur Dramatics 


13 


The final rehearsal should not be interrupted until 
the end. This should go as smoothly as possible. The 
cast is very apt to get out of humor at the final rehearsal; 
the tactful Director will do everything in his power to 
avoid this. 

During the final rehearsal, the Director should have 
paper and pencil and take notes on things he wants to 
.call attention to and tell the cast, when the rehearsal is 
over. There should be at least two property rehearsals, 
to accustom the actors to using them. During the re¬ 
hearsal, the Prompter should sit by the Director. 

The Dress rehearsal should be the night before the 
production and the stage should be entirely set, lights, 
curtain, being used. It is well for the Director to stand 
at the back of the hall during rehearsals. He can get the 
effect better and can also tell whether or not the actors are 
using their voices correctly, and whether they can be 
heard in the rear of the house. 

The Dress Rehearsal should never be in the after¬ 
noon of the day of the production. The actors will need 
all of their strength and energy for the play itself. A 
successful director will never try to produce a play with¬ 
out at least one dress rehearsal. If he does, the results 
may be disastrous. A girl sitting down in a hoop skirt, 
for the first time, would not know just how to handle it, 
but such a thing could be worked out at the costume re¬ 
hearsal. A woman wearing a dress with a train for the 
first time, will also have to learn just how to handle it, 
so in turning she will not get twisted in it. These are 
just a couple of the problems that have to be solved. 

An amateur will not stand as much rehearsing as a 
professional. If rehearsed too long, and too steadily, he 
will lose interest in the play. No change should be 
made in the play at the eleventh hour. 

“It is only in feeling, in knowing that our part, 
however small, is essential to the final betterment of 
things, that we can make it truly so.” 




14 


Handbook of Amateur Dramatics 


CHILDREN’S PLAYS 

“Children are God’s Apostles, day by day, sent forth 
to preach of love and hope and peace.” 

One of the largest and most interesting fields in 
dramatic art is found in working with children. Nearly 
all children love to act. “Their minds, bodies and souls 
cry out for activity.” When they take part in plays, 
children are really and truly living The parts they are 
interpreting. 

To produce children’s plays, a Director must be es¬ 
pecially and peculiarly fitted by training and personality. 
“For* what grander, holier purpose under heaven does a 
human being need knowledge than for the training of 
childhood.” The Director should always be kind and 
courteous. “Kindness and good nature are heart cos¬ 
metics ; they make a person true blue; they multiply 
friends, and add usefulness. You may say ‘Well, I am # 
not naturally kind.’ Well, try being unnaturally kind for 
a time, and get the habit.” 

There are many children who are oversensitive, and 
a tactless Director might criticize such a child before her 
playmates. This would be a grave mistake—for very 
often, the oversensitive child is the talented one. “Of all 
flowers, the human flower needs sunshine most.” Hap¬ 
piness is the most powerful of tonics, and the child who 
is happy is a joy to the Director. 

The Director should make children her equal. They 
have hearts, minds, and souls, arid are developing into 
Directors. “We find great things are made of little 
things. And little things go lessening, till at last, comes 
God behind them.” 

Care should be taken in choosing suitable things for 
children. They do not like trivial things. The choice of 
the play should be suited to their environment, and tem- 
perment. Children love Fairy Tales, and the old ones 
make very attractive vehicles for the youngsters. 

In making the selection of a play for children, the 
Director must consider: 

1. Their capacities. 

2. Their interests. 




Handbook of Amateur Draynatics 


15 


3. Their characteristics. 

4. Their needs. 

Some of the most successful plays have been those 
in which the children have been allowed to help in the 
writing. There is one dramatic school in the West, that 
has a very active Children’s Department, and most of 
their plays are built around suggestions given by the 
youngsters in the Story-telling class. 

Children of the Kindergarten age have no idea of 
team work. It is necessary for them to find their places 
in the group, while older children co-operate very well 
in groups. They sing: “This is the way we wash our 
dolly’s clothes,” not “This is the way, I wash my dolly’s 
clothes.” Since their little minds are not thinking of 
self, the Director will not have as much jealousy with 
which to contend, with children, as she will in directing 
plays for adults. 

During rehearsals, it is well to stop every once in 
a while, for a good laugh; this will relieve the tension. 
The rehearsals for children’s plays should not be as long 
as are the rehearsals for older people. They tire more 
easily. 

For the grade teacher, in the public school, a play 
should be chosen, which can be correlated with all the 
studies the children are taking. For instance the life of 
the American Indian may be taken as the theme of study. 
It may be arranged according to the following plan: 


Dramatics 

Literature 

Nature Study 

Production of 
“Hiawatha” 

The study of Hia¬ 
watha for its 
literary value 

A study of the 1 
different trees and 
plants mentioned 
in the play 

Handwork 

Manual Training 

History 

Indian form of 
Basket-making 

Making bows and 
arrows, and in the 
Leather Depart¬ 
ment, the making 
of moccasins 

Stories of the 
American Indian 














16 


Handbook of Amateur Dramatics 


Dances 

Physical Education 
Indian Games and 


M usic 


Indian folk-songs. 
“Legends of the 
Red Men” by 
Harry Loomis is 
especially good for 
Indian dances and 
lend themselves to 
the Indian cere¬ 
monies and panto- 
mines 



Another time, the teacher may take as the theme of 
study, the life and customs of the Colonial days. 

The Teacher or Director should make the children 
used to sharing responsibility, and let them have a voice 
in deciding certain problems: It is wonderful the really 
sensible suggestions they often offer. 

Children should know exactly what they are to do 
and exactly when everything is to be done. During the 
production of a children’s pageant, the writer has found 
it advantageous, if there are several capable assistants 
behind the scenes to look after things, for the Director 
should direct from the front—right in front of the plat¬ 
form —not on it. This seems to give the youngsters more 
confidence, and the Director can see everything that is 
going on every minute. The way a great many audi¬ 
toriums and churches are arranged, the audience would 
never see the Director, and it certainly has proven a suc¬ 
cessful plan. 

“The greatest thing a teacher ever brings to a child, 
is not subject matter, but the uplift, which comes from a 
heart contact, with a great personality.” 











Handbook of Amateur Dramatics 


17 


THE SPEAKING VOICE IN DRAMATICS 

“Speak the speech, I pray you, as I pronounced it 
to you, trippingly on the tongue, but if you mouth it, 
as many of our players do, I had as lief the Town-crier 
spake the lines.” 

The aim of all speech work should be: 

1. To be heard. 

2. To be understood. 

3. To carry conviction. 

How often an amateur play is a failure, because the 
audience can not understand the words of the actors! 
The Director should have at least one rehearsal, where 
he will emphasize the value of good, clean speech. So 
many people do not half finish their words; final sounds 
and consonants are especially important. In pronounc¬ 
ing such words as cat, cake, make, if the final t and k 
are not pronounced, the audience will lose the entire 
word. Many people have trouble in pronouncing the 
combination wh. This is a very easy combination, if the 
lips are puckered as if ready to whistle, such words as 
white, wheat, where, when, etc., will not give trouble if 
this plan is followed. 

Some folks are born with fine, natural speaking 
voices, but the average untrained voice is very poor. A 
poor speaking voice is often the result of nervous ten¬ 
sion, and this must be overcome before the voice can be 
improved. 

In drama, the actor has only his voice, and body, 
with which to work; he has no instrument as has the 
pianist, violinist, or harpist. All he is able to accom¬ 
plish will be through the use of the gifts given him by 
liis Maker. 

All voice production, must have good deep breath¬ 
ing as its foundation. The importance of deep breath¬ 
ing in vocal training can not be over-emphasized. Breath 
may be considered as a string, and the voice as pearl 
strung on it, and just as it would be impossible to string 
pearls, without a string, so it is impossible to produce 
words, without breath. 




18 


Handbook of Amateur Dramatics 


The first voice training should begin with good deep 
breathing exercises. The breath should start, not from 
the chest but from the abdominal cavity, and as the breath 
is inhaled, there should be expansion of the muscles at 
the waist, 

Resonance is a most important factor in tone pro¬ 
duction. It gives rich, full tones—also it gives carrying 
power. Vocal tone is always complex, being composed 
of several simple tones (fundamental and overtones), 
varying in pitch and intensity. 

For resonance, the head and face cavities must be 
used. The following exercises are suggested: 

Hum—Mim, Mim, Mim, Mim, Mim, Mim, then 
change to Nim, Nim, Nim, Nim, Nim, Nim. Mim will 
get the tones on the lips, and Nim will get it at the base 
of the nostril. The exercise should be repeated several 
times. 

The following exercise will help to increase the vol¬ 
ume of the voice: 

Prolong the vowels, taking a deep breath before be¬ 
ginning. The exercise should be sung— 

A-E-I-O-U 

Then prolong. 

OO-O-Ah-A-E-I 

Now I am alone. 

Roll on thou dark and deep blue ocean, roll. 

Thou too, sail on, oh ship of state. 

In practicing, forget that your throat has anything 
to do with your voice, and try to make the sound a rever¬ 
beration in the front of the face, sometimes higher, some¬ 
times lower, but always front. 

How important it is in speech work to obtain vari¬ 
ety. An actor, whose voice is always pitched on the 
same tone, never higher, never lower, is the most tire¬ 
some person in the world to the audience. One teacher 
m coaching a Crook Play, suggested that her pupils think 
of the play as an orchestra—the hero being represented 
by the cello, the angels and fairies by the flute, and the 
policemen by the drums. This illustration will help 
people to realize the importance of a flexible voice. 




Handbook of Amateur Dramatics 


19 


A good standing position is an important essential 
of a good voice. The head should be held well erect, 
shoulders back, not so they look drawn back, however, 
the right foot a little in advance of the left foot, the cen¬ 
ter of the left foot at the heel of the right one. 

It is really wonderful the improvement that can be 
made in the speaking voice with a little practice, a little 
guidance and thought. 

It would be well for the Director to have the actors 
practice the rising, falling and circumflex inflection. The 
following sentences may be used. 

Will you go with me? {rising). 

1 will not go with you {falling). 

It is just as I said {circumflex ). 

To obtain lighter tones, there is no better practice 
than the refrain of Alfred Noyes’ “The Barrel Organ.” 

“Oh come to Kue in Lilac time, in lilac time,” etc. 
There are seven or eight lines of this refrain and the 
whole should be used in practice. 

For general voice practice, especially for variety, 
Edgar Allen Poe’s “The Bells,” furnishes excellent ma¬ 
terial, for in it is found the complete scale. Each stanza 
furnishes new material. 


DO’S AND DON’TS OF PLAY COACHING 

1. List properties at first reading of play. These 
should be listed according to acts. 

2. Be accurate as to time, settings and costumes. 

3. Be artistic. 

4. Never have actors memorize lines too early. 
They will not grow and will be the same at the last re¬ 
hearsal as at the first. 

5. Better a bare stage, than a poorly arranged 
stage. 

6. At first rehearsal, discuss characters—What does 
each character stand for? 

7. In memorizing lines, do not sit in chair and learn 





20 


Handbook of Amateur Dramatics 


them, use the action. 

8. Do not stand in straight line. 

9. Do not preach to audience. 

10. Do not point in a play. 

11. Use circles. Actor may circle in front of peo¬ 
ple, unless he is a servant. 

12. Never cover another actor. 

13. When back is to audience, project voice to 
audience. 

14. Turn back to audience as little as possible. 
Keep three-quarters face. 

15. Think of stage as a triangle, star or dominant 
character at top, servant at lower ends. 

Star 



16. Do not talk too fast. Six to eight words to a 
breath is enough. The play is new to your audience. 

17. Never move on another person’s lines, unless 
it is necessary. 

18. Gesture with hand on opposite side from audi¬ 
ence. 

19. Kneel on knee toward audience. 

20. Have stage set at first acting rehearsal. 

21. Be sure everybody knows where they belong 
when each speech is spoken. 

22. Keep your people interested. 

23. Do not yell big speeches for the sake of being 
heard. 

24. Give no suggestions for the first few rehearsals. 

25. Let each player express himself naturally. 

26. About third rehearsal, begin interrupting a 
great deal—but toward end, work for rhythm. 

27. Never play part in drama you are directing. 

28. Be sure to have at least two property rehear¬ 
sals. 

29. When in doubt, do nothing. To do nothing in¬ 
terestingly is difficult. 





Handbook of Amateur Dramatics 


21 


30. Never try to fool an audience. Show every¬ 
thing that is important. Win attention of audience, hold 
it steadily or better, increase it to the end. 

31. Never allow a person to wear spectacles on the 
stage. 

32. Call characters by stage names at rehearsals. 


SCENERY AND SETTINGS 

In planning the scenery for plays, it is very often 
necessary to make something out of nothing. It must 
be remembered that scenery does not have to be expen¬ 
sive in order to be effective, but simplicity is the one thing 
for which we are striving. It is better to have a bare 
stage than a mis-arranged stage, for with a bare stage, 
the imagination is allowed to play freely. Many of the 
professional producers are following the plan of having 
very little scenery and very little furniture on the stage. 
The Ben Greet Players furnish interesting material for 
study along these lines. 

Brown and gray prove most satisfactory for back¬ 
ground of scenery. They will blend with almost any 
color. Red and bright blue are too viyid, and should 
never be used, although a soft blue will prove satisfac¬ 
tory. , . 

If the scene desired is a living room, try to make it 
look cozy and home-like, using cushions, lamps, pictures, 
flowers, etc. However, if pictures are used, they should 
be carefully chosen. A great deal will depend upon the 
play itself, but if possible, copies of the masterpieces 
should be used. This is especially true if the scene is in 
a modern home. The picture should not be hung too 

^ For exterior scenes, very simple settings should be 
used. If trees are needed, try to get small bay trees, and 
plant them in buckets. 

Many directors have found that the use of screens 
w iH solve their scenery problem. On one side an exter- 





22 


Handbook of Amateur Drawatics 


ior is painted, and on the other side is an interior scene, 
and they hinge both ways. 

Many directors are using a cyclorama, made of heavy 
curtains, hung on a semi-circular iron frame. 

Behind Scenes 


Oyclorarua 


: Stage : 

The cyclorama can be used for practically any type 
of a play. The curtains can be made of sateen, canton 
flannel, poplin, velvet, or even unbleached domestic. 
This can be dyed, and will make an effective though 
cheap background. Gray, brown or blue are the best 
colors to use for this. A cyclorama can be made for 
about $20.00. 

A great many kittle Theatre companies have revived 
old sets of scenery by painting and papering them with 
some attractive wall paper. They can be used and re¬ 
used, and will thus save a great deal of expense. 

It is well in planning sets to make a miniature stage 
and work out the desired setting on this. Many prob¬ 
lems may be solved in this way. 


SPECIAL EFFECTS 

To obtain the effect of a grate fire—red tissue paper 
and sticks placed over an electric bulb will give the de¬ 
sired effect. 

Sound of Bells—Use different lengths of iron bars. 
Snow on garments can be simulated by applying wet 

salt. 

Stage wine is best made from cold tea. 

For lightning—flashlight may be turned off and on, 
or electric light may be turned off and on. 

Thunder—Take a large piece of sheet iron, and 
shake with both hands. 











Handbook of Amateur Dramatics 


23 


LIGHTING 

The best advice one can give, to the Director of 
amateur plays on this subject, is to experiment with the 
lights uni"*] he has secured the exact effects he is work¬ 
ing for. 

The dramatic students at Northwestern University 
are taught to work out their lighting problems by the 
use of a miniature stage. The stage is wired and is 
lighted from the side, and from overhead; there are no 
footlights. Many professional producers are doing away 
with the use of footlights, but get all of their light from 
several strips of lights overhead, and from large lights 
from the side. 

The spotlight is often used in the musical comedy, 
but care should be taken in the use of the spot. Over¬ 
usage will have a tendency to cheapen the production, 
and put it on the level with the cheap burlesque show. 

Just the regular electric bulbs give too glaring a 
light, and must be frosted or colored to reduce this ter¬ 
rible glare. 

The dye used for dipping the bulbs can be obtained 
from almost anv dmg store, or from a theatrical supply 
house. Where it is impossible to secure the dye, for 
dipping, crepe paper can be wrapped around the bulbs 
and will give almost the same effect. Care should be 
taken in wrapping however, to allow several inches be¬ 
tween the paper and the bulb, and paper should be used 
on no stronger light than a forty watt bulb. If used on 
a sixty watt bulb, there is danger of the paper catching 
on fire and causing no end of confusion and damage. 

If the scene is to be a daylight scene, amber and 
frosted bulbs should be used; blue, amber and red will 
furnish the desired effect for a sunset scene, while red 
and blue are combined for a firelight glow and green 
and amber may be used for a moonlight scene. 

If the play is to be produced in a rural district, 
where there is no electric current, the problem will be 
best solved by the use of a row of coal oil lamps, set in 
front of the stage where the footlights should be,, each 
lamp having a tin reflector, which will face the audience. 




24 


Handbook of Amateur Dramatics 


It is possible to make portable strips of footlights, 
which may be used any place you can get the current. 
These are made by connecting the lights to narrow strips 
of lumber, about six inches wide, and forty inches long. 
The strip faces the audience, and really acts as a reflector. 

If an experienced electrician is available, he will be 
able to give many valuable suggestions. 


COSTUMES 

In discussing the question of costumes, it may be 
well, first to give the meaning of the colors, as it is often 
necessary to know this, especially in producing pageants, 
or morality plays. The list below may help to solve this 
problem: 

White—Purity. 

Orange—Force. 

Baby Blue—Innocence. 

Purple—Royalty. 

Gray—Coldness. 

Eight Green—Jealousy. 

Brown—Good Fellowship. 

Blue—Sanctity 

Red—Passion, Love. 

Cerise—Wickedness. 

Black—Sombre. 

Green—Naturalness. 

Pink—Affection. 

Costumes can either make, or mar a play. Some¬ 
times a Director does not realize just how much de¬ 
pends upon accurate costuming. If one must consider 
a large group of actors, there are three tests for cos¬ 
tumes : 

1. Are they suited to the movement of the play? 

2. Can they be made cheaply? 

3. Can they be easily copied? 

In planning and designing costumes a great many 
useable things can be found in trunks in the attics of 





Handbook of Amateur Dramatics 


25 


older homes. Usually people are very kind about lend¬ 
ing such things. The costume-mistress, however, should 
see that everything borrowed, is returned in good shape. 
It makes borrowing the second time, very much easier. 

The Director must take into consideration the exact 
time and setting of the play. If a play of the Colonial 
period is to be produced, the dress of that period should 
be studied carefully. The hair should be powdered, and 
combed high. It is so easy to spoil a Colonial costume 
by using just one modern article. 

At this time when pageants are so popular, it may 
be interesting to have a few general suggestions. 

In pfenning costumes, it is never wise to use crepe 
paper. You may spend a great deal of time on such a 
costume, ano at the last minute it may tear; this is apt 
to happen, especially with children. I doubt if there is 
one Director, who has not at some time been almost 
driven to distraction because of a torn costume just at 
the time for the little actors to go on the stage. A crepe 
paper costume can seldom be used a second time and if 
plays are to be produced very often, it is wise to get 
some material that will be lasting, for very often, with a 
little alteration they can be used a second or third time. 

Cheesecloth is very satisfactory for costumes. It is 
soft and clinging, also is very reasonable. It is wise to 
buy cheesecloth by the bolt. This comes sixty yards to 
the bolt, and dyes very easily, and with little trouble 
some very attractive effects can be obtained. The cheap 
cheesecloth makes prettier costumes than does the more 
expensive material. It seems to be more clinging, and if 
dyed carefully at times looks like chiffon. 

If a velvet costume is desired, and the material is 
out of reach, a very good imitation can be secured by 
dyeing flannelette the desired shade. This can also be 
used for velvet hangings very effectively. For the hang¬ 
ings it should be dyed a dark shade. 

Sometimes a costume will appear to be a complete 
failure, but a little gold paint dabbed on it, will often save 
it from being useless. An old costume may often be re¬ 
vived by the use of a little bright paint. 




2G 


Handbook of Amateur Dramatics 


The writer recently costumed a May-Day pageant. 
None of the costumes were expensive, but they proved to 
be very effective. “Spring-Time” was the leading char¬ 
acter and was lovely in a costume of two shades of green 
cheesecloth. The skirt was made of four squares, these 
squares being hung in points. Under the skirt, she wore 
bloomers of a little darker shade of green. Her waist 
was a bodice of green, and her scarf was a little darker 
shade. A wreath of small green leaves was worn around 
her head. Garlands of Spring flowers were draped 
around her costume. She was indeed a lovely picture. 

There were gay summer flowers, and early Spring 
flowers, costumed in various shades of cheesecloth. 

The roses wore scalloped skirts of pink, with pink 
bodices. On their heads they wore dainty petal hats. 

Lilies were seen in dresses of green with long 
pointed petals falling from the shoulders, while the dais¬ 
ies were gay in dresses of yellow with two rows of long 
slender, white petals. The pansies wore a combination 
of purple and yellow. 

The little Snowballs, who were represented by the 
Kindergarten children wore fluffy white tarlatan dresses 
and on the end of each petal was a puff ball of cotton. 
The Spring Beauties were attractive in pink and white, 
while the Crocuses danced gaily in yellow and purple. 

The Costume Designer must remember that cos¬ 
tumes are seen from a distance, and such a thing as a 
moth hole in a man’s full dress suit can be easily cov¬ 
ered by the use of a little charcoal. 

Very effective and cheap Indian costumes can be 
made from burlap sacks. These can be obtained from 
a grocer for five or ten cents, and two of them with a lit¬ 
tle fringe sewed around the sleeves and bottom, and a 
feather stuck in the hair, will make a very presentable 
costume. 

If more elaborate Indian costumes are wanted, tan 
Galatea cloth trimmed in imitation leather fringe of a 
deeper shade may be used. Indians should always be 
costumed in heavy colors, tans, browns and reds. For 
Indian wigs, hemp rope can be dyed and re-plaited. This 




Handbook of Amateur Dramatics 


27 


has the required stiffness and straightness. Without dye¬ 
ing the hemp rope can be used for Dutch, or Swedish 
wigs. An attractive Dutch costume can be made from 
blue cambric for the skirt, a medium shade of blue, or 
what is commonly known as “Dutch Blue,” with a full 
white blouse, and a white bib apron, wooden shoes (which 
can be rented) a cap, which is pointed on both sides. 

For a Spanish costume, a skirt of bright yellow, cut 
in points around the bottom, and made rather short, worn 
with a black bodice makes a striking costume. Price tags 
may be used effectively for decorations. 

An Italian costume is quite similar, large earrings 
being added to the one designed for the Spanish girl. 

For Colonial Dames dancing the Minuet, the cos¬ 
tumes may be made from the pastel shades of tarlatan, 
pink, lavender, blue, and yellow. The skirts should be 
long, and full, and wired, while the waists may be bodices 
with fischus. Bunches of artificial flowers may be worn 
at the left side of the belt, and a wreath matching them, 
may be worn in the hair. 

A Pierette costume is attractive made with a skirt 
of white tarlatan, very short and full, and a bodice of 
white sateen, with pom-pom of black tarlatan about six 
inches apart down the front of the entire costume. 

A Pierrot can be costumed in a one-piece suit with 
full trousers, of white sateen, with the black pom-pons 
down the front of the entire cu.iame, and a plaited frill 
of black tarlatan around his neck, and a high peaked hat 
of white, having black pom-pon about six inches apart. 
Pajama pattern can be used. 

The Goddess of Liberty or Miss America, or Miss 
Columbia, should wear a long white Grecian robe, with 
a large piece of red, white and blue bunting draped from 
the shoulder. 

Autumn may be costumed, in a brown skirt of tar¬ 
latan, with a yellow bodice of cambric, strips of red, 
yellow, orange are hung from the waist, a wreath of au¬ 
tumn leaves is worn around the head. 

A Man of 1776 should wear short knee trousers, 
made rather tight, this could be of white, blue swallow- 





28 


Handbook of Amateur Dramatics 


tail coat, a blouse made with a full lace frill, white stock¬ 
ings, black pumps, with large buckles, powdered hair, and 
black tri-cornered hats. 

Japanese characters should wear a kimona, of fig¬ 
ured crepe. Tiny fans as ornaments in the hair. 

Chinese maidens may be costumed in two-piece suits, 
made with long loose trousers and jackets. A Pajama 
pattern may be used to cut this costume by. Paper chry¬ 
santhemums worn on each side of the hair. 

Grecian maidens, or any character that calls for a 
Grecian robe may be costumed in a long flowing robe 
of white cheesecloth, with flowing sleeves, three bands of 
ribbon across the hair. 

In producing a pageant of “The Nativity,” the writer 
was puzzled over costumes for “The Three Wise Men 
of the Orient.” Of course they had to be elaborate, and 
this meant expense to which we did not care to go, but 
our problem was solved by using corduroy bathrobes 
(worn backwards), one of brown, one of blue, and one 
of scarlet, and from the shoulder of each Wise Man was 
draped a tapestry couch cover. Silk scarfs were wound 
around their heads and served as turbans. The costumes 
were handsome. If it is possible to secure them, robes 
worn by the officers of various lodges, during their cere- 
lonies make very effective costumes for the Wise Men. 

The shepherds wore dark slips, each one having a 
fur rug, suspended from his shoulder. Their crooks 
were made from broomsticks, the curved part being cut 
from cardboard, and padded with cotton, until it was as 
large as the stick, then the whole thing was wrapped 
with white crepe paper. If a Director does not want to 
go to the trouble of making these crooks, they can be 
rented from any costumer, very reasonably. 

In costuming Biblical characters, authentic pictures 
should be studied. A Director should not try to produce 
a Biblical play until he has a very definite idea about the 
costumes necessary. Soft blues and greens are often 
used for women characters of the bible. 

The most difficult plays to costume, are the Shake¬ 
spearian plays, and the writer has always found it very 



Handbook of Amateur Dramatics 


29 


much more satisfactory to rent these costumes than to 
try to make them, at least the principal ones should be 
rented. 

Lace paper doilies pasted on a costume will give a 
rich effect from a distance. It is positively surprising 
the effects that can be secured by using these doilies. 

Every Director of Amateur plays should have some 
knowledge of dyeing, both the Tied and Dyed Method, 
and the more artistic method of Batique. There is a 
fine book on the subject of dyeing written by Professor 
Pellew, Professor of Chemistry in one of the large East¬ 
ern Colleges. Many valuable suggestions may be found 
in this book. The Director can add one hundred per 
cent to the attractiveness of the costumes, if these methods 
of dyeing are used. 

A costume should never be hemmed, but where the 
character permits, it should be cut in scallops around 
the bottom. Where this would be incongruous, the bot¬ 
tom of the costume may be picoted. 

A good book to have for reference is The Amateur 
Costume Book—Paper 75c, cloth $1.00. 


MAKE-UP 

Every amateur actor should have some knowledge of 
Make-ups. It helps one a great deal in acting, if he looks 
the part. As in all other arts, practice makes perfect in 
Make-up. It should always be remembered that an actor 
appears at a distance from his audience, and the best way 
for him to learn the art of Make-up is to .sit down in 
front of a mirror and work until he has secured the de¬ 
sired effects, as each face presents a different problem. 

All Make-up should be removed by the use of cold 
cream, and spirit gum. which is used for making a mous¬ 
tache stick, must be removed from the face by the use 
of alcohol. There is really no other satisfactory way of 
removing it. 

Articles needed for Make-up can be secured from 





30 


Handbook of Amateur Dramatics 


Eldridge Entertainment House, Franklin, Ohio. 

1. Very pale flesh. 

2. Eight flesh. 

3. Natural flesh (juvenile). 

4. Rose (juvenile). 

5. Deeper rose (juvenile heroes). 

6. Healthy sunburnt color. 

7. Same as six, only deeper. 

8. Healthy color for middle age. 

9. Sallow (young men). 

10. Sallow (old age). 

11. Ruddy (old age). 

12. Olive—healthy. 

13. Light shade of Olive. 

14. Gypsy flesh color. 

15. Othello (Moor). 

16. Chinese. 

17. American Indian. 

18. East Indian. 

19. Japanese. 

Utner necessary articles are: Theatrical Rouge, 
Theatrical Cold Cream, Black Wax to cover teeth. Putty 
for artificial nose. Hare’s foot for applying rouge. 
Crepe hair for moustache (buy by the yard). Eyebrow 
liner. Lip stick. 

There are two kinds of Make-up: the dry and the 
wet. The following suggestions are offered on making- 
up a young woman, just a straight make-up: 

Cold cream the entire face, then pack with powder, 
line eye lid with blue, rouge the cheeks (high), touch the 
chin with rouge. Use lip stick, making the lips bow 
shape. Line, eyebrows with black or brown. If person 
has a large mouth part may be covered with flesh grease 
paint, and lip stick may be used to outline the desired 
mouth. Apply powder over the entire face. Be sure to 
make up the neck also. 

Young Man. 

This make-up is practically the same as for a young 
woman, only a darker flesh grease paint should be used 
for a foundation. The ears must also be made up. 




Handbook of Amateur Dramatics 


31 


Sick Make-up. 

Use gray liner around the eyes, for hallows in cheeks, 
use gray and high light with white. Wrinkles may be 
put in with a black liner; they should follow the natural 
lines of the face and should be high lighted with white. 

Old Man. 

Spread the entire face with dark flesh grease paint. 
Use white stick on the eyebrows, using the wrong way, 
this will make them look shaggy. Wrinkles should fol¬ 
low the natural lines of face and should be high lighted 
with yellow or white. 

Clown. 

The entire face should be covered with Clown-white. 
Fantastic figures may be painted on the chin, cheeks, fore¬ 
head, by dipping brush in melted grease paint. 

Irishman. 

He should have very red cheeks, and putty should be 
applied to the lower part of his nose. 

Japanese. 

Eyebrows should be blotted out with flesh grease 
paint, and slanting ones made with black liner. 

Child. 

Very little make-up is required for a child, just a lit¬ 
tle rouge and lip stick. 

JEW. 

Cover the entire face with flesh color grease paint, 
paint a beard with black grease paint, beginning at each 
ear and covering the entire lower portion of the face. 
Use nose putty to enlarge the nose, and have it turn 
down. Cover the putty with flesh color grease paint. 



32 


Handbook of Amateur Dramatics 


ADVERTISING 

Each community will present a different problem in 
giving publicity to the play, and the Business Manager 
will have to know the community, in order to know ex¬ 
actly the best means of reaching the largest number of 
people. 

Newspaper advertising will often be the most profit¬ 
able for there is scarcely a home into which a newspaper 
does not go. In planning newspaper advertising, the 
Business Manager should have his whole campaign out¬ 
lined and should know just how many lines of space he 
will want; in this way he will often be able to get lower 
rates from the newspapers. A picture of the entire cast 
should appear in the paper a night or two before the per¬ 
formance. 

Moving picture theatre advertising is another way 
to reach a large number of people. An attractive slide 
should be prepared, and run at least every night for two 
weeks before the play is to be given. 

Handbills distributed a day or two before the play 
will be a good reminder and often help to swell the crowd. 

Attractive hand-painted posters are always a draw¬ 
ing card. These should be carefully made, and the more 
artistic they are, the better the results will be. The pos¬ 
ters should be in prominent places; if the play is to be 
given in a small town, where people go to the office for 
their mail, the most attractive poster should be at the 
Postoffice. It should be placed there about two weeks 
before the performance, and in that way it will be seen 
at least once a day, by the majority of people in town. 
Posters should also be placed in the windows of the 
stores, and especially in the stores on the main streets of 
the business section. 

There are many novel ways of advertising: In giv¬ 
ing publicity to the play “Green Stockings,” a unique plan 
was used in having green stockings made of cambric, to 
which were attached cards bearing “At the Opera House 
June 5—8:15,” and these were hung around town, in 
shop windows, on telephone poles, etc. The novelty 
naturally attracted a great deal of attention, and the play 




Handbook of Amateur Dramatics 


33 


proved a winner. 

Tags on which are printed “Are you going to see 
‘The Piper’ ? I am” may be distributed among school 
children. Boys and girls are good boosters and their 
interest should be solicited. Of course on these tags, the 
name of the play should be inserted in very large letters. 

Do not be afraid to spend a little money on adver¬ 
tising; it will be well spent, and the well advertised play 
is the one that will prove a success financially. 

Do not be afraid of over-advertising . 


PAGEANTRY 

What is a pageant? 

This question has been asked many, many times, and 
a great many answers have been given, but the definitions 
that seem to be most satisfactory are as follows: 

“A pageant is a festival to Almighty God in com¬ 
memoration of past glory and in gratitude for present 
prosperity and hope for future weal.” 

“Pageantry is poetry for the masses.” 

“A drama of people where the plot is the history 
of the town, and the hero is the town itself.” 

With the growing interest in Dramatics, Pageantry 
has become a very popular form. Pageantry had its birth 
in England, but since being introduced into this country 
has grown very oopular. Perhaps this is due to the fact 
that a great number of people can be used, all ages, all 
sizes, and they need no special previous training. Also 
different episodes can be presented by different groups, 
and these groups can be rehearsed separately. In pagean¬ 
try, the use of drama, dancing, music, and sculpture may 
be correlated. 

In planning a pageant, a Director must ask him¬ 
self : 

What pageant shall we present? 

Who will the actors be ? 

Where shall we produce it? 






84 


Handbook of Amateur Dramatics 


When shall we produce it? 

What Pageant Shade We Produce ? 

The choice of the pageant will depend entirely upon 
the end in view. If it is to be of a religious nature, a 
pageant that will show the progress of religion, or the 
victory of religion over sin, should be chosen. 

If the aim is to arouse interest in certain forms of 
charity, the episodes should hinge around the special ones. 

Many schools and colleges are producing educational 
pageants, with good results. 

Recently, Oberlin, Louisiana entertained representa¬ 
tives of all cities and towns from Alexandria to Lake 
Charles, celebrating the opening of the Pelican High¬ 
way, as a hard surfaced road. A historical pageant was 
presented in Forest Park, a municipally equipped and. 
owned tourist park. The pageant was called “From 
Trail to Pike” and depicted the evolution of the Pelican 
Highway from an Indian Trail to a hard surfaced pike. 

The first scene showed the spirits of the forest, por¬ 
trayed by the girls of the Oberlin High School; they 
were later joined by dryads and nymphs of the forest. 
The Spirits of Grey Moss were portrayed by smaller 
girls. 

The second scene was known as “The Indian Trail” 
and was participated in by a tribe of Mohawk Indians 
residing in Allen Parish, Louisiana. 

The next scene showed the undeveloped resources of 
Louisiana, and was called “The Dance of the Products.” 

The next scene showed the arrival of the early trail 
blazers, on horseback, and was followed by the prairie 
schooner. Civil Engineers had blazed the way and a line 
of travel had been opened. The steamboat trail, the 
bicycle trail, and the automobile trail was followed by 
the Pelican Highway. 

This pageant was written by local people and was 
enacted by local actors, and was given under the direc¬ 
tion of the Oberlin Chamber of Commerce. 

Pageantry is a wonderful means of increasing civic 
interest. Percy MacKaye tells of an incident which hap¬ 
pened during a civic pageant in St. Louis: A young 




Handbook of Amateur Dramatics 


35 


medical student, taking the part of “St. Louis” was late 
to a rehearsal; he came rushing in and said: “Sorry, 
I’m late sir, but I just got married.” He had left his 
bride to come to the rehearsal. His city had called him 
and he felt his personal responsibility. 

For a historical pageant, the Director will find good 
material in Nina B. Lambkin’s “America, Yesterday and 
Today.” As many as five hundred participants could 
be used in this. It is most effective given out of doors, 
although it could be produced effectively indoors 

If it is to be a large community pageant, the episodes 
can be grouped among churches, schools, clubs, commer¬ 
cial houses, etc. 

Who Will be the Actors? 

The participants may be divided into the following 
groups: 

Principals (actors). 

Principals (singers). 

Dancers. 

Actors. 

Pantomimists. 

Athletes. 

Chorus (who appear on stage, in costume). 

Chorus (off stage). 

It is well to have at least semi-professionals to take 
the leading speaking parts, but the dancers, athletes, etc., 
may be selected without special thought of any previous 
training. 

Where Shall We Produce It? 

“Summer or winter, day or night, 

The woods are ever a new delight; 

They give us peace, and they make us strong 
Such wonderful balms to them belong.” 

Choosing a suitable site for the pageant will do much 
toward making it a success. Practically all pageants are 
loveliest if produced out of doors, and there are few 
towns or cities, that do not have a park where a large 
enough space can be found. If a natural amphitheatre is 
obtainable, nothing more suitable could be found, but 




36 


Handbook of Amateur Dramatics 


where it is not to be found, a flat grassy spot, with trees 
in the back will answer the purpose, however, if the trees 
are not there, a good background can be formed by mak¬ 
ing screens covered with wire chicken netting, and filled 
in with branches. This should be filled in very closely, 
so there will be no danger of the audience seeing what 
is taking place behind the scenes. This would detract 
strongly from the attractiveness of what is going on, on 
the stage. The size of the site may be determined by 
the number of participants. The site should be one that 
is easily reached by the largest number of people and 
should be centrally located. 

In the July, 1912, issue of “The Mask,” Mr. Gordan 
Craig writes, “The floor of the theatre is the earth; we 
need not bother our heads any longer about whether stage 
proportions should be seen from any angle, but the nor¬ 
mal right angle of the straight floor laid as close to the 
earth as possible.” 

When Shall We Produce It? 

The time should be set when the rehearsals start, and 
the participants should have a definite knowledge of 
when the production will take place. 

It is well to give a pageant two or three times. At 
least one night performance should be given, and two 
afternoon performances, or vice versa; this being de¬ 
cided by local 'conditions. There are always folks who 
can’t leave their business and unless an afternoon per¬ 
formance is given, they would have no opportunity of 
seeing it. In a small town or rural district, where the 
country folks come to town on Saturday, it would be 
advisable to include Saturday as one of the days of pro¬ 
duction, as often these folks can not make an extra trip 
and the pageant should be produced for them as well as 
for the town people. 

Staee. 

The staff for the pageant consists largely of the same 
members as are mentioned under “Organization.” The 
Director again has charge of the whole production, but 
he is assisted by group leaders, who are responsible for 
his own group. The word of the Director, however, as 





Handbook of Amateur Dramatics 


37 


in the play, must be absolutely final. It is his concep¬ 
tion of the pageant that is being produced. 

There should be a group of committees whose duty 
it is to look after the grounds, advertising, costumes, 
music, dances, etc. 

Music. 

For an out of doors pageant, the most satisfactory 
music is furnished by an orchestra; two pianos and a 
reed organ will answer the purpose, if an orchestra can 
not be secured. 

Experiment has proven that a victrola can not be 
used to good advantage in the open air, and if a Direc¬ 
tor insists upon using one, he is running a risk of abso¬ 
lutely ruining his production. 


PAGEANTS 

“The Importance of Being Happy,” a beautiful 
pageant of childhood. 35c. 

“The Mothers of Men,” Sarah A. Wallace, is a beaii- 
tiful pageant suited especially for production on Mother’s 
Day. The Mothers of celebrated men in history are in¬ 
troduced. 25c. 

“Pageant of Vocations,” by Agnes Wallace is one 
which could be produced to arouse interest in vocational 
training. The costumes are very simple. 25c. 


THE LITTLE THEATRE MOVEMENT 
The Little Theatre movement, which was introduced 
in this country by Winthrop Ames, in 1912, has grown 
so rapidly that there are very few communities now that 
do not have a country theatre, art theatre or some means 
of producing' amateur dramatics. People of all classes 
are demanding the right to their own theatres. 

The Country Theatre has meant a great deal to the 
farmers. After a day of labor in the field, the theatre is 






38 


Handbook of Amateur Dramatics 


a diversion to them, and wherever country theatres have 
been established, they have been well patronized, and have 
almost invariably proven a success. The Little Country 
Theatre in Fargo, North Dakota, has thrown out such 
an influence that there are over two thousand people 
participating in amateur productions, in the state of 
North Dakota. 

The Art Theatres, found in a great many cities, are 
operated not for commercial gain, but their motto is 
“Art for Art’s sake.” There are very few art theatres 
that are a success, financially, but very often a wealthy 
man will take the financial risk. The actors receive no 
salaries, and all they get out of it is the joy they bring 
to themselves and their audiences. 

A most interesting Art Theatre is the one in Cin¬ 
cinnati, directed by Ruth Allen Stahl, a young Radcliffe 
girl. The theatre is housed in a room in the old LaFay- 
ette Bank building, and is* rather Bohemian in appear¬ 
ance. The actors are amateurs and semi-professionals. 
The seats are wooden benches, but the audience does not 
seem to object to that. There is a close feeling between 
the actors and the audience; a feeling which could never 
exist in the professional theatre. 

Sometimes three one-act plays comprise the pro¬ 
gram, and again a single one-act play will provide the 
entertainment. To celebrate the “Moliere Tercentenary,” a 
fine production of Moliere’s “The Impostures of Scapin” 
was given. During the Christmas holidays a bill of three 
one-act plays, including an old English Miracle play 
“The Second’s Shepherd’s Play” was given. Between 
acts, coffee and sandwiches are served to the audience. 

The Washington Square Players produced their 
first play in 1915, as the result of a group of young peo¬ 
ple, all living in and around Washington Square, and in¬ 
terested in dramatics, banding themselves together. This 
was a very cosmopolitan group, composed of Hebrews, 
Bohemians, Puritans, etc., but they were all one in their 
common interest. Since their organization, these play¬ 
ers have been very successful. 

An interesting Community Theatre is found in 




Handbook of Amateur Dramatics 


m 


Pasadena, California. No class or race lines are drawn. 
In their productions, the newspaper boy, and the mil¬ 
lionaire works side by side. No salaries are paid, but 
rich and poor work together, and seem to find a great 
deal of joy in their work. 

Another interesting group of players in Cincinnati 
are “The Rockdale Players,” made up entirely of Jewish 
amateur and semi-professional actors. Their work is 
unique; some of the plays presented being the work of 
Mr. S. Burnett Jordan, the Director of the group. 

It is not only in the East and West that this move¬ 
ment is active, but many towns and cities in the South 
have their own Little Theatres. Natchez, Mississippi, 
has an interesting Art Theatre, where many attractive 
productions have been given. 

The Little Theatre in New Orleans formerly pro- . 
duced their plays in the ballroom of the Guenwald Hotel, 
but now have their own building in the old French 
Quarters of the city. 

A large number of the leading American Colleges 
and Universities are offering courses in the drama and 
many of them have their own dramatic laboratories. The 
47 Workshop of Harvard, under the direction of Pro¬ 
fessor Baker, has a national reputation. The result is 
that many Harvard men have chosen the theatre in some 
form as their professions. 

The members of the “Harvard Dramatic Club” give 
plays written by Harvard graduates, and undergraduates. 
From the efforts of Professor Baker, has resulted the 
Craig Prize of $500.00 annually, for the best play sub¬ 
mitted by pupils of Professor Baker, to be produced by 
Mr. John Craig’s Company in Boston. Half of the 
money goes to the author, and the other half to the Har¬ 
vard Library to be spent for books on the drama. 

Professor Baker is an untiring worker and has done 
much toward giving the theatre what it has long needed, 
educated men. 

No one who saw the MacDowell Pageant, at Peter¬ 
borough, New Hampshire, set to the music of Edward 
MacDowell will ever forget the artistry displayed by 




40 


Hand boo k of Amateur Dramatics 


Professor Baker in directing this production. From his 
work has resulted “The MacDowell Scholarship” at Har¬ 
vard for students in Dramatic Technique. 

The State University of California has a remark¬ 
able Greek Theatre, where many lovely productions have 
been given. 

Kenyon College at Gambier, Ohio, has an active 
group of players known as “The Puff and Powder Club,” 
their productions very often being the work of their own 
members. 

In the settlement districts of New York, “The Edu¬ 
cational Players” under the direction of Mrs. Emma Fry 
are doing a significant work by presenting high class 
plays to people who would not otherwise have the oppor¬ 
tunity of seeing them. 

In the smaller towns, the town hall, lodge room, 
school houses, and even automobile trucks have been con¬ 
verted into “Little Theatres” and all the nation has the 
opportunity of seeing first class plays. 

The development of the interest in amateur drama¬ 
tics in New Orleans is most interesting. Almost every 
week a program of one-act plays is given by the budding 
talent of the city. Recently, an old historic Protestant 
church was turned into a playhouse, and the members of 
the church were the players. The proceeds from the per¬ 
formances were devoted to Foreign Missions, and to 
putting up a new Sunday School building. On the same 
night at Lovola University, a program of three one-act 
plays including “The Turtle Dove,” ‘‘The Crooks and a 
Lady,” and “Suppressed Desires,” was presented. 




41 


Handbook of Amateur Dramatics 


A List of Plays Especially Recommended 
For Amateurs 

THREE ACT ROYALTY PLAYS 

Creepy Crest. A comedy of mystery. 4 m., 5 w. 50c. $10.00 
Royalty. 

Cyclone Sally. Hafer. Uproarious comedy. 4 m., 5 w. 35c. 
$10.00 Royalty. 

Too Much Varnish. Delightful comedy. 4 m., 4 w. 35c. $10.00 
.Royalty. 

Ted Drops In. Hafer. Splendid rural play. 4 m., 4 w. 35c. 
$10.00 Royalty. 

Welcome Home, Jimmy. One of Eugene Hafer’s best. 4 m., 
5 w. 35c. $10.00 Royalty. 

Ducks. A western comedy-drama. 6 m., 4 w. 35c. $10.00 
Royalty. 

The Ghost Walks. Comedy with dash of mystery. 4 m., 6 w. 
50c. $10.00 Royalty. 

Nobody But Nancy. Good farce-comedy. 4 m., 6 w. 50c. 
$10.00 Royalty. 

The Purple Monkey. Unusual play. 6 m., 4 w. 35c. $10.00 
Royalty. 

Sunshine Lane. Delightful comedy-drama. 5 m., 7 w. 50c. 
$10.00 Royalty. 

Sonny-Jane. Well-recommended play. 5 m., 7 w. 35c. $10.00 
Royalty. 

The Spite Fence. Wholesome comedy. 5 m., 7 w. 50c. $10.00 
Royalty. 

Just Pals. Modern comedy. 4 m., 5 w. 50c. $10.00 Royalty. 
Well, Did You Ever. Good community play for churches. 35c. 
$10.00 Royalty. 

Let’s Have Some Excitement. Fine school play. 8 m., 8 w. 
35c. $10.00 Royalty. 

What Price Ancestors. An exceptional play. 8 m., 6 w. 35c. 
$10.00 Royalty. 

Adam and Eva. 6 m., 4 w. 75c. $25.00 Royalty. 

The Charm School. 6 m., 10 w. 75c. $25.00 Royalty. 

Come Out of the Kitchen. 6 m., 5 w. 75c. $25.00 Royalty. 
Daddy Long Legs. 6 m., 7 w. 75c. $25.00 Royalty. 

Nothing But the Truth. 5 m., 6 w. 75c. $25.00 Royalty. 

The Patsy. 3 m., 3 w. 75c. Royalty on application. 

Any of these plays can be obtained from 

Eldridge Entertainment House, Inc. 

FRANKLIN, OHIO - - and - - DENVER, COLO. 






42 


Handbook of Amateur Dramatics 


THREE ACT NON-ROYALTY PLAYS 

Lovely Mary. A modern and exciting play. 4 m., 5 w. 
35c. 

Molly’s Aunt. A laughable farce. 3 m., 4 w. 35c. 
Clarence Decides. Clever comedy. 4 m., 6 w. 35c. 

Pan Dowdy. New England story. 5 m., 3 w. 35c. 
Cynthia’s Candlesticks. A joyous comedy. 5m.,5w.35c. 
A Peach of a Family. Good comedy. 5 m., 7 w. 35c. 
Polly Lou. A clean comedy. 6 m., 8 w. 35c. 

The Old Home Place. A wholesome comedy-drama. 

4 m., 3 w. 35c. 

The Purse Opens. A story of greed and unselfishness. 

5 m., 3 w. 35c. 

Whittlin’. A new play, “Way Down East” type. 5 m., 

3 w. 35c. 

Paying the Fiddler. Comedy-drama of American life. 

4 m., 4 w. 35c. 

The Path Across the Hill. Very popular. 5 m., 5 w. 35c. 

The Man of Yesterday. Strong play, good lessons. 

6 m., 5 w. 35c. 

Judith of the Mountains. Gripping story of mountain 
life. 6 m., 8 w. 35c. 

Much Ado About Betty. Modern comedy. 7 m., 7 w. 
(doubling). 35c. 

EXCELLENT ONE ACT PLAYS 

The Dance of the Red, Red Rose. A novelty. 1 m., 
2 w. 25c. 

The Honeymoon Specialist. A likeable play. 1 m., 3 w. 
30c. 

Flittermouse. A Mary Reely play. 1 m., 3 w. 30c. 
Not Quite Such a Goose. Clever comedy. 2 m., 3 w. 35c. 




Handbook of Amateur Dramatics 


43 


Putting Up a Prosperous Front. Laughable farce. 

2 m., 4 w. 35c. 

Kidnapping Betty. Very clever. 3 m., 4 w. 35c. 

Waitin’ Fer Sun-Up. Strong play of mountain-folk. 

3 m., 5 w. 30c. 

The Ghost Story. Tarkington. 5 m., 5 w. 50c. 

Blind. Strong sketch for 2 m., 1 w. 25c. 

Dead Expense. A mountain play. 2 m., 2 w. 25c. 

Love at First Sound. Pleasing comedy. 2 m., 2 w. 25c. 

She’n Her Daughter’n Her Daughter. Gripping play. 
2 m., 2 w. 25c. 

Room to Rent—Lit and Het. Story of sacrifice. 2 m., 

4 w. 25c. 

Tombstone or Washing-Machine. Good lesson. 2 m., 
4 w. 25c. 

Trial by Breakfast. Clever comedy. 4 m., 2 w. 25c. 
No Tips Accepted. Unusual play. 4 m., 3 w. 25c. 

This Love Business. Delightful comedy. 4 m., 3 w. 35c. 
Frail Ferdinand. Laughable play. 2 m., 2 w. 30c. 
Lady of the Lilacs. Very effective. 4 m., 4 w. 35c. 
That’s What They All Say. Funny all the way. 4 m., 
4 w. 35c. 

Everybody Happy? Bright comedy. 4 m., 5 w. 30c. 

We recommend for stunt plays, etc. 

“Auditorium Plays and Stunts for High School.” 75c. 
For Commercial Classes this collection is good. 

“Six Plays of Business Life.” 50c. 

All of the above can be procured from the 

Eldridge Entertainment House, Inc. 

FRANKLIN, OHIO and DENVER, COLO. 





POPULAR PLAYS 

By EUGENE HAFER 


Especially suitable for High Schools, 
Church or Grange 


CYCLONE SALLY. 4 m., 5 w. One scene. 35c 

IN CHERRY TIME. 6 m., 6 w. One interior. . . 35c 
HOLD THAT LINE, JIMMY. 4 m., 4 w. One 

scene.. 35c 

TED DROPS IN. 4 m., 4 w. One interior. 35c 

WATCH YOUR STEP, WILTON. 4 m., 4 w. 

One interior. 35c ‘ 

BACK AGAIN, HOME TOWN. 5 m., 4 w. Two 

interiors... 35c 

STEP ON IT, STAN. 4 m., 5 w. One easy set¬ 
ting. 35c 

WELCOME HOME, JIMMY. 4 m., 5 w. One 

setting. . . .. 35c 

WRECKING ROBERT’S BUDGET. 7 m., 5 w. 

Lots of fun. . . . :. 35c 

THE BACKFIRE. 6 m., 3 w. Office scene. .... 35c 
CHEER UP, CHAD. 5 m., 5 w. Two interiors. . 35c 
SMILE, RODNEY, SMILE. 5 m., 7 w. One in¬ 
terior. 35c 

SONNY-JANE. 5 m., 7 w. 35c 

NOTE—All of aflove require payment of $10 Royalty 
for first performance and $5 for each succeeding one. 


Get Catalog of Plays and Entertainments, Free 


Eldridge Entertainment House 

INCORPORATED 


Franklin, Ohio 


[ 18 ] 


Denver, Colorado 

















Unusual New 
One- and Two- Act Plays 


IN BROAD DAYLIGHT. Comedy, 7 w . 25c 

THE GIRLS’ FINESSE. Comedy, 6 w . 25c 

THE CURING OF DAD. Comedy, 3 m., 2 w. . . 25c 

SECOND BEST. Comedy, 3 m., 3 w . 25c 

MARY COMES HOME FROM COLLEGE. 3 m., 


THE TALE OF A MULE’S TAIL. 3 m. f 3 w. . . . 25c 

THE FOREIGNER, 5 m., 2 w. 25c 

THE FIXER. Comedy, 2 m., 3 w. 35c 

THE SIXTH HAT. Farce comedy, 6 m., 4 w. ... 35c 
SUE STARTS SOMETHING. Two-act comedy, 

6 m., 4 w. 35c 

THE ATHLETIC HERO. Comedy, 5 m., 5 w. . . 25c 
EVERYTHING COMES TO HER WHO WAITS. 

2 m., 3 w. 25c 

THAT’S WHAT THEY ALL SAY. Comedy, 4 m., 

4 w. .. 35c 

A VITAPHONE COURTSHIP. Novelty play. . . 35c 

CATHERINE EXPLAINS. One act, 6 w. 25c 

FIVE SHORT COMEDIES FOR COMMUNITY 

USE. 50c 

MEET THE FAMILY. 4 m., 4 w. 25c 

THEY WANTED PUBLICITY. 7w. 25c 

Get Big Catalog 


Eldridge Entertainment House 

INCORPORATED 


Franklin, Ohio 


u»i 


Denver, Colorado 


















New Stunts 

and 

Novel Entertainments 


MODERN “MELLER DRAMMER.” 

Pantomimed reading. 35c 

IN THE STUBBLEVILLE DEPOT. 

Semi-musical sketch for males. 25c 

MADAME’S HAT SHOP. 

Sketch for 8 girls. 25c 

THE TOREDEAR AND THE COWVALIER. 

Burlesque. 3 m., 3 w. . 35c 

THE KLASS AND FAKULTEE. 

Musical stunt. 25c 

SCHOOL SPIRIT. 

Pep-meeting sketch. 3 girls. 25c 

GWENDOLYNS GETAWAY. 

Shadowgraph. 4 m., 2 w. 35c 

THE “HI” FLYERS. 

Musical sketch. 3 characters and chorus. 50c 

THE WHITE ELEPHANT SALE. 

Novelty for church. 3 m., 5 w.. 25c 

“The Hcisse That Helps” 


Eldridge Entertainment House 

INCORPORATED 

Franklin, Ohio Denver, Colorado 

[ 20 ] 














The Best New Royalty Plays 

By Harriett Connell. Three-act' Western 
U.V-/1YO. comedy-drama lor 6 m., 4 w. Of the 
many plays read and reviewed, we liked “Ducks” 
about the best. Marilou Drury, after her father’s 
death, manages the ranch, assisted by Terry, the 
foreman, Samantha, the housekeeper. Doc Marshall, 
veterinarian, Heine, the chore-boy, and cowboys. 
Dallas Gibson from the east makes her an offer for 
the farm and as Bhe is losing money is inclined to 
accept it but Terry dissuades her, and they decide 
to raise ducks. Peggy, a college chum, drops in and 
livens things up. A wrecked airplane, with the pilot 
brought to the ranch for recovery, adds the element 
of mystery. Real dramatic situations ensue when 
Gibson kidnaps Marilou in an attempt to force her 
to sign the deed. Samantha captures Gibson, Terry 
is wounded in rescuing Marilou, Jarvis recovers and 
remembers that he is commissioned to* offer a hand¬ 
some sum for the ranch as it is valuable oil land. 
He falls for Peggy; Terry and Marilou are not in¬ 
different to each other and even Samantha finally melts a little toward Doc. 
Heine is left to tend the “Ducks.” Parts well balanced and this play will 
prove a winner. Plays whole evening. Easy setting. Royalty $10, each 
succeeding performance $5. Director’s guide furnished free with every cast 
purchased. Price 35c. 




Qnnmr To via A comedy mirth-quake in 3 acts 
MUIlIljr -d adlu, ^ Eugene Hafer, author of Cy¬ 
clone Sally, Welcome Home, Jimmy, and others. 5 
m., 7 f. One interior. Plays full evening. We un¬ 
hesitatingly recommend this as one of the most 
laughable comedies of the year. Rapid action, up¬ 
roarious comedy, and a plot that mounts to a tre¬ 
mendous climax are its main ingredients. The char¬ 
acters are delightfully humorous. There are Charlie 
Mitchell, energetic Larry, and peppery Sam Streck 
who arrive in Orchard Center with the unchivalrous 
purpose of squelching Sonny-Jane; charming and 
independent Sonny-Jane, who objects to being 
squelched: Pansy, slowest hired girl in the world; 

Joe Martin, who doesn’t Intend to be a yokel all his 
life; coy Lucille: blunt Peggy; troublesome Ruby; 
snappy Nancy Wade: Freddie Beadle, the “shriek’ 
of Orchard Center; and Mrs. Spitsendorf, who has 

had “such poor luck mit husbands” but is willing -- 

to take another chance on unwilling Sam. Royalty , 

for first performance $10; $5 for each performance thereafter. Directors 
guide free with each cast purchased. Price 35c. 

T} rQC c! TTqMtc An unusual 3-act play, by Edith R. McComas. 4 m.. 
dDlcLbS 1 dvliOi 6 w ^ also ^inor 'haracters. Plays about hrs. One 
easy interior of a modern home. Cisserilla, the beautiful daughter of Mr. 
and Mrs. Simpkins, is very poetical and artistic in her tastes, and does not 
return the love of Jack Bradford, a practical young miller of the town. She 
does, however, consider very favorably Dr. Slovinsky, the 9 * the p ay. 

on account of his pleasing manners and his artistic tastes. Vinsky takes 
advantage of this friendship and the fact that he is Mrs. Simpkni s physi- 
ciarfi and secretes Mr. Simpkin’s will and other valuable papers, including 
receipts for a mortgage on the home, which he holds. At Mr. Sl ™P kl *L® 
sudden death, he deceives the family and uses his knowledge to his own 
advantage. Interesting complications develop and are P" ra J®tl e d ^ ^ig_ 
serilla discovering the will and papers, shaking off poetry and slo ™aky. 
getting down to “Brass Tacks,” proving herself competent to take care of 
her father’s business and finally marrying the hero Jack ^ a ^ f o rd n Co ^® dy 
is introduced by Bridget, the Irish maid. Good c^ss play or for any drama 
tic club. Royalty $10 for each performance, $5 each additional. Director s 
guide for this play given with each cast purchased. Price 35c. 

Eldridge Entertainment House 

INCORPORATED 

Franklin, Ohio Denver, Colorado 


131 ] 



















































What Are Our 

Most Popular Plays? 

This question is asked daily and here is a 
partial answer in this “List of Hits.” 


Royalty Plays—3-Act 

All of these require $10.00 Royalty 

Cyclone Sally, 4 m., 5 f. (over 30,000 sold).35cts 

Sonny-Jane, 5 m., 7 f.35cts 

Smile, Rodney, Smile, 5 m., 7 f.35cts 

In Cherry Time, 6 m., 6 f.35cts 

Nobody But Nancy, 4 m., 6 f...50cts 

Ted Drops In (Good Rural Play) 4 m., 4 f.35cts 

Creepy Crest, 4 m., 6 f.50cts 

Welcome Home, Jimmy, 4 m., 5 f.35cts 

Ducks (Western Comedy), 6 m., 4 w.35cts 

The Ghost Walks, 4 m., 6 f..50cts 

Well, Did You Ever, 5 m., 7 f.35cts 

Non-Royalty Plays 

Molly’s Aunt, 3 m., 4 f.35cts 

Lovely Mary, 4 m., 5 f..35cts 

Clarence Decides, 4 m., 6 f.35cts 

A.unt Billie From Texas, 7 m., 8 f.35cts 

Polly Lou, 7 m., 7 f.35cts 

The Old Home Place, 4 m., 3 f.35cts 

The Man Who Left the Farm, 5 m., 4 f.35cts 

Getting Rid of Eppie, 3 m., 7 w.*.35cts 

Brown-Eyed Betty, 6 m., 6 f.35cts 


WRITE FOR CATALOG 

Eldridge Entertainment House 


INCORPORATED 

"The House That Helps” 

Franklin, Ohio also Denver, Colo. 


[ 30 ] 

























STUNT SONG BOOKS-HAVE SOME FUN! 


SING-SONG STUNT SONGS 

Compiled by Dorothy Potter. New book 
for camps, socials, banquets, etc. Those who 
have used “Stunt Songs for Social Sings” 
will welcome this new collection. Over 70 of 
those funny ditties that make everyone sing 
and laugh. Contains such FUN CLASSICS 
as “Grow Little Fat Girl,” “I Got a Shoe,” 
“Alone, Tee Hee, Alone,” “Ain’t It Fierce,” 
and others just as high class. Be the first to 
sing ’em in your community. 35c. 

GAMP AND PICNIC WARBLER 

Compiled and edited 
by Evelyn Hopson 
Wood, a well-known di¬ 
rector of camp music. 

All camp directors will 
welcome this collection 
of really good songs 
which will help make 
camp or picnic a hap¬ 
pier place. Contains Ac¬ 
tion Songs, Cheer Up 
Songs, Stunt Songs, Din¬ 
ing Hall Songs, Early 
Morning Songs, Folk 
and Character Songs, 

Goodnight Songs, Greet¬ 
ing and Appreciation 

STUNT SONGS FOR SOCIAL SINGS 

Compiled by Annetta Eldridge and Ruth Rich¬ 
ardson. A collection of funny songs and yells 
for special occasions and group singing. Among 
the songs are: I Want to Be a Jolly Girl; We 
Are the Great Stuclcups; Hai-ai-kie-aikus; O 
What Did Delaware Boys? When the Organ 
Peeled Bananas; All I Want Is Sociability. Try 
them at your clubs, parties, campfires, hikes, for 
ice-breakers, etc. They chase formality out the 
window. Sixty songs, some old, some new, but 
all good fun. 35c; $3.50 per doz.; $13.00 for 50; 

$25.00 per 100. 

POPULAR PARODIES FOR 
GROUP SINGING 

A useful book for any social occasion. 200 songs. Every Men’s Club, 
Church Club, Camp, Y. M. C. A., K. of C., or any group where you 
want some corking ice-breakers, should have this book. Not the vul¬ 
gar, suggestive kind, just funny. Parodies set to very well-known 
tunes. 25c; $2.50 per doz.; $20 per 100. 

Send for Catalog 

Eldridge Entertainment House, Inc. 

“THE HOUSE THAT HELPS” 

Franklin, Ohio, also Denver, Colo. 




» CC! 

A Collection of CampSfcnpi 

(VCLVA uorsow wooc > 


Songs, Pelp Songs, 
Prayer Songs, Quiet 
Songs for Campfire, etc.. 
Rainy Day Songs, Re¬ 
sponse Songs, Rounds, 
Songs for Special Ac¬ 
tivities, Story-telling 
Songs, Tramping Songs, 
Water Songs, Well, you 
can’t afford to be with¬ 
out the book even at 
picnics where jolly 
music always adds to 
the gaiety and helps 
digest the “eats.” 35c 
per copy, $3.50 per 
dozen, $13 for 50. 



[ SB] 


* 














































*• 


LIBRARY OF CONGRESS 


Nice Things Said AL _ 0 „ 033 _ 26 1 027 2 
Publications 


“ Susie Steps Out.’ The play was satisfactory in every 
respect.”—Shamokin, Pa. 

“ ‘Nobody But Nancy’ drew a large crowd, and was 
extremely pleasing to the audience.”—Cabery, Ill. 

“ ‘Cyclone Sally.’ Everyone liked this number and we 
can most certainly recommend it to other schools.”— 
Ullin, Ill. 

“Your play, ‘Cyclone Sally,’ has been presented here 
with much success and pleasure to all, both players and 
audience. The players got as much kick from presenting 
the play as the audience did from listening to it.”— 
Alderson, W. Va. 

“May I especially recommend ‘Cyclone Sally’ to direc¬ 
tors for use as a high school comedy? It proved most 
successful here.”—Leon, Iowa. 

“ ‘Sonny-Jane’ is indeed a real play.”—Concordia, Mo. 

“A large audience in Firemen’s Hall last night thor¬ 
oughly enjoyed the first presentation of a three-act mod¬ 
ern comedy of country life, ‘Ted Drops In,’ by the Dra¬ 
matic Club of West Sand Lake Grange.”—West Sand 
Lake, N. Y. 

“ ‘Sonny-Jane’ is a fine play, one of the best Clifton 
College has ever staged.”—Clifton, Texas. 

“ ‘The Captain of Plymouth’ was a success in every 
way and delighted everybody who saw it.”—Danbury, 
Conn. 

“We made the biggest hit possible with ‘The Captain 
of Plymouth.* Every one is still talking about it.” 

“The operetta ‘Arcticania* was the best school enter¬ 
tainment ever given here.”—Emmett, Idaho. 

“ ‘The Hermit of Hawaii’ was tuneful, picturesque, and 
sparkling with wholesome fun, making a delightful even¬ 
ing’s entertainment.”—Cleveland, O. 

Send for Catalog 

Eldridge Entertaiment House, Inc. 

“THE HOUSE THAT HELPS” 

Franklin, Ohio, also Denver, Colo. 


[34] 


** 










































































